Jain Journal 1997 10

SR No.: 520128
Original Sutra Author: N/A
Author: Jain Bhawan Publication
Publisher: Jain Bhawan Publication
Publication Year: 1997
Total Pages: 42
Language: English
Classification: Magazine, India_Jain Journal, & India
File Size: 3 MB

Page 16

REFERENCES TO PAINTINGS IN THE KUVALAYAMALA RAMVALLABH SOMĀNĪ
The Kuvalayamālā was composed by Uddyotana Suri in 778 A.D. at Jalore, Rajasthan. It is a very important Jain work, having several references to the paintings done on canvas citrapaṭṭas, walls and other sites. It is also very rich in other descriptions.
A Buddhist writer Lama Taranatha describes that the old Western school of art was developed by an artist-Śṛngadhar, under the patronage of King Sila of Maru-country. A divergence of opinion existed about the identification of this ruler. Attempts were made to identify him with Harṣavardhan of Kanauj and Maitraka-ruler Šilāditya2 of Vallabhi. But none of them had their possession over the Mārawar state. Thus king Sila can be identified with Siluka (Sila) of Mandor. This fact can be corroborated from the iconographic repertory of the Pratihār Age, which proves that qualitative and positive development took place under the aegis of some trained masters.
The Kuvalayamālā contains manifold details of the art of paintings. It mentions that a Muni having some citrapaṭṭās in his hand met Kuvalayacandra. He gave his introduction that he was the son of Sinha, the ruler of Dvārakā and his name was Bhānu. He also stated that he had become fond of executing painting.3 He was so much accomplished in this art that he could appreciate the work by examining the linear conception, composition, use of colours and other details. This proves that certain norms pertaining to paintings were then popular. On the request of Kuvalayacandra, he began to display his paṭṭās. Perhaps, every citrapaṭṭa was having several foldings and each folding was having some parts on which the series of different scenes were painted. The details of a citrapaṭṭa 'Samsara-cakka' were as under. These scenes were painted by some Upadhyaya who had handed it over to the above Muni-Rāja.
1. Taranath-History of Buddhism in India (Indian Antiquary Vol. IV p. 10. Dr. Moticandra-Jain Miniature Paintings from Western India (Ahmedabad, 1949) p. 18.
2.
Lalita Kala No. VIII pp. 83-84.
3. Mamam ca Cittamme Vasanam Jayam (Kuvalayamālā) (S.J.G.M.). pp. 185
line 11).
4.
Reha-Thanaya-Bhāvehi, Sanjuyam-Vanna-Virayanā Sāram-Jānāmi cittayammam narida Daṭṭhum piJanami, ibid. p. 185 line 12.